Entertainment
The Canceled X-Files Crossover That Nearly Ruined Two Shows
By Chris Snellgrove
| Published
The X-Files was never really known for its crossovers, although it had a few: “X-Cops” was a collaboration with the popular Cops TV show, and a fun crossover with Millennium helped this canceled show finish out its doomsday plot. Oh, and a memorable appearance by Detective John Munch means that this show technically crossed over with Homicide: Life on the Street. These episodes were generally a success, though the show nearly had an early crossover that would have been a disaster.
Even though The X-Files was a Fox TV show, there was very nearly a crossover with the quirky CBS show Picket Fences. The networks wouldn’t play nice, so this collaboration quietly died, with the X-Files episode “Red Museum” scrubbing all references to the shared storyline. However, the Picket Fences episode “Away in the Manger” secretly kept some of the references in there, and some fans consider these references enough to place these shows in the same universe.
The Meeting Of The Minds
Where the heck did the idea to crossover The X-Files and Picket Fences come from in the first place? As it turns out, from the showrunners! Chris Carter and David E. Kelley worked for two different networks, but they both produced their shows at 20th Century Fox. They ran into each other in the studio parking lot, and soon enough, they began excitedly plotting an ambitious crossover between the two shows. Soon, Carter had written a script, and Kelley liked it enough to agree to a crossover.
How would this have worked, though? It would have started with an X-Files episode where our erstwhile FBI agents are investigating cows in a tiny Wisconsin town who may or may not have been injected with alien DNA. Next, Mulder would have popped up in a Picket Fences episode where similar things were happening in the show’s familiar town of Rome, Wisconsin.
Why Did The Crossover Fall Apart?
Plans for this crossover died for the exact reason you’d suspect: money. Back in December 1994, an unnamed Fox source told Entertainment Weekly that the Picket Fences network, CBS, was “unwilling to help another show on another network.” The result is that both TV shows shot their intended episodes, but the X-Files episode “Red Museum” removed all references to Picket Fences, including changing the setting of the episode from Rome, Wisconsin, to the nearby town of Delta Glen. Otherwise, the bizarre, cow-injecting plot remained the same.
However, in an interesting bit of quiet rebellion against CBS, David E. Kelley kept several references to the crossover in his Picket Fences episode. The episode “Away In a Manger” refers to the events that happened in Delta Glen, and someone specifically mentions how the drama over there involved cows, alien DNAs, and a man named Dr. Larsen, who died in the X-Files episode “Red Museum.” The same character saying all of this even mentions that the FBI was investigating what happened, though he never mentions Mulder and Scully directly by name.
The Crossover Died (And That’s A Good Thing)
While I love the idea of Kelley giving CBS the middle finger and keeping these references in, I’m personally glad that the official X-Files/Picket Fences crossover was killed. For one thing, “Red Museum” was part of X-Files’ second season, when the show was still trying to discover its true identity. If the producers opened the door to silly crossovers early on, this could arguably have ruined the show because episodes would start focusing more on gimmicky marketing and less on lore and world-building.
Additionally, a crossover with Picket Fences would likely have contributed to continuity problems while making it difficult to stream this story in the future. As of this writing, Picket Fences is unavailable to stream without buying individual episodes. That means that if this crossover went through and you got invested in it as a fan, you would not have an easy way to stream the complete story and would have to resort to individual episode purchases or tracking down physical media (always good to have).
The Crossover Died So Two Shows Could Live
Finally, while Picket Fences was quirky in its own way, it was also a more comedic show, and one that reveled in offering social commentary. Generally, X-Files was more serious, both in terms of its characters and its conspiracy-loving subject matter. Long story short, I can’t help but think a crossover would have been bad for both shows, hurting Chris Carter’s show in its infancy and possibly killing David E. Kelly’s Emmy-winning show that much quicker.
Now, the crossover that could have been is nothing more than a weird bit of trivia. It might have happened and delighted ‘90s audiences back in the day, but on the subject of internetwork collaboration, CBS executives adopted the wisdom of Fox Mulder. Namely, to trust no one!
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Taylor Sheridan‘s chokehold over the Paramount+ streaming charts is clear. In the current global TV ranks, five of the ten are Sheridan shows, with one of the most popular continuing to dominate as news of the fourth season continues to arrive. Tulsa King, Sheridan’s hit crime saga starring Sylvester Stallone and Frank Grillo, recently added Flula Borg of The Rookie fame to the cast of Season 4, with the building of anticipation for the Samuel L. Jackson-led spin-off helping keep the series high in the charts.
But the credit for Tulsa King‘s success cannot all be given to Sheridan, with the show unlikely to be as triumphant on the streaming charts without its perfectly assembled cast, one of which is also finding success with a forgotten 2024 action thriller. Directed by John Swab, Grillo stars opposite Andy Garcia and Josh Hutcherson in Long Gone Heroes, a blend of mystery and action that debuted in September 2024. The movie marked Grillo’s fifth collaboration with Swab, with Grillo saying of the director in an interview: “I love this kid. I think he’s dynamite.”
At the time of writing, Long Gone Heroes is one of the ten most-streamed movies on Paramount+ in the U.S., joining the likes of Edgar Wright‘s recent adaptation of The Running Man, Mission: Impossible – The Final Reckoning, and more on the list. A synopsis for Long Gone Heroes reads:
“Gunner, a special forces soldier who has witnessed the darkest side of country and combat, is forced back into the field of battle to save his niece, who is being held in South America. As the fight intensifies, Gunner and his team discover that her disappearance is part of a corrupt private operation that hits way too close to home.”
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How Did Critics Respond to ‘Long Gone Heroes’?
Although the film faced an overall mixed response, including a 51% score on review aggregator Rotten Tomatoes from audiences, some critics were pleasantly surprised by this action thriller. Writing for The New York Times, Robert Daniels called it “A tactical and efficient film” and likened it to Commando. Radio Times critic James Mottram was less impressed, writing, “Complete with murky, night-vision-tinged visuals, it’s all action and precious little character development.”
Long Gone Heroes is streaming on Paramount+. Stay tuned to Collider for more streaming stories.
- Release Date
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September 20, 2024
- Runtime
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122 Minutes
- Director
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John Swab
- Writers
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John Swab, Santiago Manes Moreno
The mystery genre is a booming art form full of fascination and intrigue. Where can you find better stories that grip you from start to finish than with this one? It’s dominated storytelling for centuries and heavily influenced cinema over the last 100 years. Lately, it’s taken television by storm, delivering pulse-pounding, suspenseful narratives that have kept viewers coming back every episode and each season to figure out what happens next in the story and characters.
Indeed, mystery television is wildly popular these days. From groundbreaking classics like Columbo and Murder, She Wrote to revolutionary game-changers like David Lynch‘s Twin Peaks and the most recent True Detective, the mystery genre has certainly had an impact on broadcasting history. But, it’s only a shame that not all the greatest mystery shows were highly revered at the time or best remembered today. Unlike some of the more iconic shows, their flawless series have captivated us, shocked us, and pulled us into the mystery each week. Here are the marvelous mystery shows that, while they aren’t as highly regarded or memorable today, have proven to be quite impressive and actually get better with age.
‘Top of the Lake’ (2013–2017)
From the combined efforts of Austrian filmmaker Jane Champion and screenwriter Gerard Lee, Top of the Lake is a two-season mystery drama series hailing from Australia. Featuring a stellar ensemble, including Elisabeth Moss, David Wenham, and Academy Award winners Holly Hunter and Nicole Kidman, it focuses on a separate shocking crime each season, following the lead detective, Robin Griffin (Moss), as she uncovers who was behind them.
Despite its positive reviews and widespread acclaim, Top of the Lake is a hidden gem that even some hardcore mystery fans haven’t even seen. Perhaps due to it not reaching the level of recognition like other American shows or because there’s just such a vast pool of compelling mystery dramas out there, it quietly faded away after its run, but has still, of course, retained its praise. Watching it today still generates the feeling of intrigue and the need to see every episode to see what shocking reveal will happen next. Along with its elevated cast, near-perfect writing, gripping themes, shocking plot twists, and emotional character drama, Top of the Lake is truly a show you wouldn’t skip out on.
‘Pushing Daisies’ (2007–2009)
Certainly one of the most delightfully bizarre and charming mystery shows to appear here, ABC’s Pushing Daisies was a unique comedy-drama series that aired from 2007 to 2009. It was a show not many people were expecting or were ready for, but it has slowly garnered better recognition it deserves. Lee Pace stars as Ned, an ordinary pie-maker with an ability to reanimate anything with a simple touch. Along with the assistance of a private investigator (Chi McBride), he goes on solving how the murder victims were killed.
With a wildly, one-of-a-kind premise like that, it’s no wonder Pushing Daisies is one of the most oddly fascinating and creative mystery shows ever made. Its uniqueness earned it a claim at the time and plenty of Primetime Emmy nominations, but it couldn’t save it from being cut, as a writers’ strike and low ratings cancelled it far too soon. In the years since, it’s not as memorable or has been ranked alongside other iconic shows, but it’s still quite enjoyable. It honestly gets more fun with every rewatch.
‘Monk’ (2002–2009)
Airing eight seasons on the USA Network from 2002 to 2009, Monk is a comedic drama mystery series that follows the life of Adrien Monk (played by Tony Shalhoub), a gifted San Francisco police detective who is put on leave after the traumatic murder of his wife worsens his Obsessive-Compulsive Disorder. Now working as a private consultant, he helps the police solve unusual cases while trying to overcome his many tics and phobias.
Monk is the right mix of laugh-out comedy and heartfelt drama, all perfectly combined in an exciting detective mystery narrative that clearly takes some inspiration from Columbo. It’s charming, funny, and incredibly emotional at times, and delights with each episode. It’s a shame Monk isn’t as well remembered now as when it was in its heyday, but it nonetheless continues to be a blast upon rewatches, and keeps on being hilarious and charming even after being off the air for nearly two decades.
‘The Killing’ (2011–2014)
An American retelling of the Danish television series Forbrydelsen, The Killing is a mystery crime thriller show which premiered on AMC in 2011 and was picked up for a third season after cancellation by Netflix in 2014. A tense, dark, and eerily atmospheric story, it stars Mireille Enos and Joel Kinnaman as Seattle detectives tasked with investigating the murder of a local teenage girl. Through slowly piecing together clues and evidence, the two come to suspect the killer was someone close to her.
The Killing instantly grabs you with a huge question of just who committed this tragic crime, and who was the closest one had their own reasons for harming the girl. Each episode leading to the inevitable reveal is packed with perfect suspense and slow-burning tension. It kept audiences glued to their screens when it first came out, and although the mystery was solved at the end of Season 2, it’s still quite fascinating and interesting to come back to rewatch all the clues that may have been missed upon initial viewing.
‘Wallander’ (2008–2016)
Adapted from the novel series by Swedish author Henning Mankell as well as a TV series from his home country, Wallander is a detective crime thriller show following the cases of the titular inspector Kurt Wallander (played by Kenneth Branagh) as he investigates a series of murders and corruption plaguing the small town of Ystad, Sweden.
Like its source material, Wallander is brilliantly written, expertly paced, and full of excellent character development. Branagh was perfectly cast in the title role, capturing this remarkable detective’s intelligence and the character’s personal struggles with being in such a violent and grim profession. Though some could argue its 2005 counterpart is arguably the definitive version of this gripping detective story, the British version can not be ignored, even though it hasn’t gotten much recognition in recent years. It truly gets more impressive upon a second viewing, and can still grip viewers into the mystery.
‘The Outsider’ (2020)
From the masterful work of horror author Stephen King comes one of his most overlooked but greatest TV show adaptations, The Outsider. Released as a miniseries on HBO, this captivating mystery drama does not let go of your attention for a second, as it grips you with a shocking mystery that needs to be solved. Ben Mendelsohn and Academy Award nominee Cynthia Erivo star in this story about a cynical Georgia detective who is on the case to solve the gruesome murder of a young boy.
It’s a criminally underappreciated series that encompasses the thrilling mystery and drama of some of the greats, and does something completely unique to stand out thanks to King’s exceptional storytelling and, of course, a little help from the talented cast. You’ll be invested right from the start and never want to miss a second as the mystery is slowly pieced together. It’s only a shame it has been overshadowed by King’s other works, as well as other mystery shows, but despite not making as huge a splash as it should have upon release, it’s more than made up for this by getting better with age, and slowly it’s getting the much-deserved recognition it needs.
‘Sherlock Holmes’ (1984–1994)
Sir Arthur Conan Doyle‘s legendary Sherlock Holmes character has become immortalized in the annals of pop culture. He is perhaps one of the most iconic figures in all fiction, and his impact on the mystery genre is truly remarkable, especially since he’s appeared in countless adaptations throughout the last two centuries. Though some were tremendous trailblazers and others were huge flops, one Holmes adaptation that certainly deserves more recognition today was the 1984 TV series simply titled Sherlock Holmes.
This show captures everything that makes Sherlock Holmes such a fascinating literary character, as he and his trusted partner Watson are gloriously brought to the small screen through 41 compelling episodes, mostly all of them featuring plots adapted straight from Doyle’s works. Jeremy Brett is widely considered the definitive Holmes for his superb performance, sparking the right balance of intelligence and grace, and sheer determination to solve a mystery. This encompasses the spirit of Doyle’s character and doesn’t feel dull for a moment. While not many viewers are familiar with it now, it certainly needs to be experienced far more than any modern adaptation of the character.
Sherlock Holmes
- Release Date
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April 24, 1984
- Directors
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Paul Annett, John Bruce
- Writers
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John Hawkesworth, Jeremy Paul, T.R. Bowen, Alan Plater
- Franchise(s)
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Sherlock Holmes
Comic book adaptations became the defining force of pop culture in the 2010s, but there was still trepidation about touching a masterpiece as influential as Alan Moore’s legendary graphic novel Watchmen. Named by TIME as one of the greatest novels of the 20th century, Watchmen inverted the superhero narrative by intertwining the history of caped crusaders with American history, resulting in a nightmarish present where vigilante justice was dominant, the nation was on the brink of war with the Soviet Union, and Richard Nixon was about to enter his third term as President. Instead of trying to make a period piece that reflected the exact reality that the original classic had been released in, Damon Lindelof created a spiritual successor with HBO’s Watchmen, which served as a continuation of the canon established back in 1985. The result is the most daring science fiction show that HBO has ever released, which swept the Emmy Awards in a first for comic book adaptations.
The biggest issue with 2009’s Watchmen film, directed by Zack Snyder, was that it was so enamored with the style of the superheroes themselves that it didn’t contain the venomous criticism that Moore had for what they represented. Since Moore had used Watchmen to take a stand against nuclear armament, authoritarianism, and police brutality, Lindelof updated the HBO show to reflect the issues of the current era, including America’s history of political corruption and white supremacy. While it ends up tying into the original text in a way that is as surprising as it is fulfilling, Watchmen also serves as a declarative statement that has sadly become even more relevant in the years since it first premiered.
HBO’s ‘Watchmen’ Isn’t a Typical Comic Book Adaptation
Instead of baiting the viewer with nostalgia, Watchmen starts by introducing new characters that fit into a modern world left devastated by the events of the original story, in which Adrian Veidt (Jeremy Irons), the superhero known as “Ozymandias,” unleashed a devastating squid attack on New York City to prevent a nuclear war. The new protagonist, Angela Abar (Regina King), is a member of the police force who masks her identity because of a coordinated effort in which white supremacists attacked several officers in their homes. Angela is aware of the events that occurred in the original Watchmen, but has gone on to live her own life with her husband, Cal (Yahya Abdul-Mateen II). It’s through Angela’s investigation into her own heritage that Watchmen is able to question where Moore’s characters ended up, and how they factor into a new society that has become even more stratified.
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What’s even more impressive than the maneuvering of comic book mythology is that Watchmen is legitimately informative about U.S. history; the show draws attention to the 1921 Tulsa Race Massacre, in which “Black Wall Street” was burned down by a racist mob that destroyed a significant chunk of history. This is something that is rarely mentioned in the American education system, particularly in Southern states that have a severely slanted curriculum when it comes to the nation’s past. The event itself isn’t just explored in Watchmen in visceral, disturbing detail, but purposefully woven into the plot and how it relates to one of the most famous and mysterious characters in canon. Since superhero films often begin with a moment of tragedy that the characters are forced to overcome, Watchmen is able to channel real anxieties about the American present to answer one of the biggest lingering questions that Moore never had the opportunity to.
‘Watchmen’ Is an Adaptation That Makes Thoughtful Updates to the Source Material
Hooded Justice is a character who is credited in Watchmen as being the first modern superhero, but his identity is kept under wraps until “This Extraordinary Being,” one of the greatest episodes in the history of HBO. “This Extraordinary Being” understands something fundamental about superheroes because of the notion of a secret identity, as it offers them the protection of living a different life. The reveal that Hooded Justice is actually Angela’s grandfather, Will (Jovan Adepo), twists the story by showing that the character only put on a mask to cover up his race. On a greater level, superheroes, the most defining figures within contemporary pop culture, are revealed to have emerged as a means to fight racism without risk of consequence, and serve as another example of Black achievements being lost to time. It’s a powerful statement that works especially well because of the amazing use of black-and-white within the episode to show the fluctuation of time.
Watchmen comes full circle in its ending by finding a creative way to explore Dr. Manhattan, a character whose relationship with time makes him difficult to depict traditionally. HBO’s Watchmen improves upon the original text’s biggest flaw by offering something tangible for Dr. Manhattan to relate to in the real world, which justifies his decision to continuously involve himself in human affairs. It’s not only a thematically ambitious series, but a visually striking, exciting work of propulsive genre filmmaking that packs more thrills into nine episodes than most shows that ran for multiple seasons. Watchmen is the type of adaptation that the industry needs more of; it’s reverential of the original text and why it was so popular, but channels contemporary insights into a narrative that speaks to the current generation.
Despite the swirling drama surrounding the Summer House cast, Ciara Miller is focusing on what really matters.
“I grew up a Girl Scout. It’s where I first learned what sisterhood looks like,” Miller, 30, wrote via her Instagram Stories on Saturday, April 4. “It taught me courage, confidence and how to carry myself through hard things.”
Miller further asked her followers to consider donating to Troop 6000, a Girl Scout troop composed of girls living in the shelter system across the New York City boroughs.
“They meet every week, earn badges, go to camp and they learn that, no matter what they’re going through, they are worth showing up for,” she explained in her upload. “That who they are matters [and] that their story is just getting started. That’s all I’ve ever wanted anyone to feel.”
In the wake of Amanda Batula and West Wilson’s confirmed romance, Summer House fans want to know how Ciara Miller is coping. “Ciara is heartbroken by this,” a source exclusively tells Us Weekly. “She and Amanda were very close, and she feels more betrayed than ever by both of them.” The insider shares that Ciara, […]
Miller further asked individuals who are “in [her] corner right now,” to also be “in theirs” by donating to Troop 6000.
Many Bravo stars and fans have recently taken sides after Miller’s friend and Summer House costar Amanda Batula confirmed her romance with West Wilson. (Wilson, 31, previously dated Miller in 2023 before they reportedly hooked up again several months ago.)
“It was never our intention to purposely hide anything,” Batula, 34, and Wilson wrote in a joint Tuesday, March 31, statement, addressing the online relationship speculation. “Given the complicated relationship dynamics involved and the scrutiny that comes with being on a reality show, we needed a little space to process things privately before speaking on it.”
They continued, “We’ve shown up for each other as friends over the years, through all the highs and lows, and what’s developed recently was the last thing either of us expected. Our connection grew out of a genuine, longstanding friendship, which made it especially important for us to approach this with care.”
Batula, who separated from now-estranged husband Kyle Cooke in January, also allegedly didn’t tell Miller about their apparent love triangle.
“She did not find out from her friend Amanda,” Miller’s The Traitors costar Dolores Catania claimed on the Thursday, April 2, episode of the “Two Ts in a Pod” podcast. “I will go on a limb to say, I did not know 100 percent until they both [released the statement]. You never know 100,000 percent until you hear it from the horse’s mouth, until you see it in black and white from them.”
Summer House alums Paige DeSorbo and Hannah Berner are choosing a side in the drama between Ciara Miller, Amanda Batula and West Wilson. “Obviously, we’re alive. We see the internet, we know what’s going on,” DeSorbo, 33, said during the Friday, April 3, episode of their “Giggly Squad” podcast. “Ciara is our real friend, in […]
Catania, 55, further claimed that the drama was “more between” Miller and Batula than with Wilson.
“Ciara was an amazing friend to Amanda. She was always there for her through her marriage. She rode hard for her and Amanda knew how she felt about West,” Catania added. “Now, Amanda was, of course, vulnerable, hadn’t been in a good relationship marriage for a long time now, but there’s a lot of guys though.”
Miller, Batula and Wilson are all expected to reunite at the Summer House season 10 reunion later this month.
Blake Lively is continuing to move forward after suffering a major blow in her ongoing lawsuit against her It Ends With Us costar and director, Justin Baldoni.
“Momming always continues on,” the actress, 38, wrote via her Instagram Stories on Sunday, April 5, over a photo of two plates of scrambled eggs formed in the shape of two bunnies. (Lively shares four children with her husband, Ryan Reynolds.)
The celebratory Easter post comes just days after Lively suffered a significant legal blow in her lawsuit against Baldoni, 42. On Thursday, April 2, federal judge Lewis Liman dismissed 10 of the 13 claims in Lively’s lawsuit against the director, including allegations of harassment, defamation and conspiracy.
The Manhattan U.S. District Judge allowed just three claims to proceed — breach of contract, retaliation and aiding and abetting in retaliation.
Justin Baldoni isn’t backing down from his legal battle with It Ends With Us costar Blake Lively after his lawsuit against her and her husband, Ryan Reynolds, was dismissed. “Ms. Lively and her team’s predictable declaration of victory is false, so let us be clear about the latest ruling,” Baldoni’s attorney Bryan Freedman told Us […]
“This case has always been and will remain focused on the devastating retaliation and the extraordinary steps the defendants took to destroy Blake Lively’s reputation because she stood up for safety on the set and that is the case that is going to trial,” Sigrid McCawley, a member of Lively’s legal team, told Us Weekly in a statement shortly after the ruling. “For Blake Lively, the greatest measure of justice is that the people and the playbook behind these coordinated digital attacks have been exposed and are already being held accountable for other women they’ve targeted.”
The lawyer continued, “She looks forward to testifying at trial and continuing to shine a light on this vicious form of online retaliation so that it becomes easier to detect and fight.”
One day later, Lively issued her own social media statement responding to the Judge’s ruling.
“I am grateful for the Court’s ruling which allows the heart of my case to be presented to a jury next month, and for the ability to finally tell my story in full at trial, for my own sake, but also for those who don’t have the same opportunity to … many of whom I have known and loved deeply in my life, and the countless I’ll never know,” she wrote on Friday, April 3. “The last thing I wanted in my life was a lawsuit, but I brought this case because of the pervasive RETALIATION I faced, and continued to, for privately and professionally asking for a safe working environment for myself and others.”
She added later in her social media statement, “So much critical work has already been done to expose systems, tactics and players who harm. The work to create more safety is in part at trial, but it will also continue far after this trial is over. This is the work I’m most proud of. I couldn’t begin to stand up if not for the countless who’ve gone before me – and the masses who are still around us all — creating laws, social change, sparking conversations, rallying, working privately and publicly, risking and sometimes losing everything for the safety of others in all spaces. Some whose names we know, most we don’t. Thank you. All of you.”
Baldoni’s legal team also issued a statement in the wake of the Judge’s decision, telling Us that they were “pleased” by the ruling.
“We’re very pleased the Court dismissed all sexual harassment claims and every claim brought against the individual defendants: Justin Baldoni, Jamey Heath, Steve Sarowitz, Melissa Nathan, and Jennifer Abel,” the statement read. “These were very serious allegations, and we are grateful to the Court for its careful review of the facts, law and voluminous evidence that was provided.”
Lively’s legal team later disputed some of Baldoni’s lawyers’ comments, telling Us that the “Court actually decided” to allow the evidence Lively provided “to go to trial on her core claims.”
When it comes to longevity in rock and roll, look no further than The Rolling Stones. Active for over six decades, the band is one of the most popular, influential, and enduring bands of the rock era. Rooted in blues and early rock styling, their sound became distinct as they moved further and further into the mainstream. Establishing themselves at the top of the heap of classic rock, their songbook runs deep. With 31 studio albums and more than 340 songs, with eight number-one hits on the US Billboard Hot 100 charts, determining which is their best songs is a near-impossible task.
The task at hand is to select The Rolling Stones’ most perfect songs. Let’s just say it’s no easy task. As each fan of the band will likely have a different list, for the purposes of this list, a song will be considered “perfect” based on songwriting, musical construction, overall influence, and its impact on the band’s musical evolution. This list is meant to celebrate one of the greatest bands and their brilliant contribution to music history.
10
“Honky Tonk Women” (1969)
Despite being a hit track, “Honky Tonk Women” sometimes gets overlooked, but the truth is, the song proved the band’s ability to tap into even more musical styles. Inspired by a holiday Mick Jagger and Keith Richards took in Brazil, the duo drew on their experience at a ranch and turned it into a song about a dancing girl in a western bar. Originally written as a Hank Williams-esque country song, Mick Taylor transformed it into the electric, riff-based hit we became familiar with. Originally released as a non-album single, the song was issued as the B-side to “You Can’t Always Get What You Want” the day after the death of founding member Brian Jones in July 1969.
Raw and bluesy, with an invitation to groove when the cowbell begins, the song’s gin-soaked groove and gritty lyrics became an instant hook for listeners. “Honky Tonk Women” soared to the top of the UK charts for seventeen weeks, five at number one, and a four-week number one run on the Billboard Hot 100. Showcasing the band at their funky best, “Honky Tonk Women” also led to a full country version released on the 1969 album Let It Bleed. “Honky Tonk Women” may be the strongest example of ’60s rock-blues.
9
“She’s A Rainbow” (1967)
The 1960s served as a brilliant opportunity for artists to explore and spread their wings. For The Rolling Stones, an uncharacteristically unique song that Jagger and Richards wrote for the band was also one of their best. Closing out their foray into psychedelic pop rock, “She’s A Rainbow” utilized a vibrant blend of baroque pop, a cascading piano line, and a lighthearted atmosphere, crafting a whimsical, joyous, and timeless masterpiece. The crowning element of the song isn’t the lyrics, it’s the arrangement. Though the classic Stones instruments are present, it’s Nicky Hopkins‘ iconic piano melody and Jones’ hypnotic usage of the Mellotran that make the track. And that string section? It’s often credited to John Paul Jones, who would go on to join Led Zeppelin a year later. Released on Their Satanic Majesties Request, the sixth studio album, the song became the most recognizable track of the album.
Music should be transcendent — “She’s A Rainbow” is proof. For a modern audience, the song has been a recent staple in commercials. Further, it became synonymous with Kristen Wiig‘s final sketch as a cast member on Saturday Night Live. Guest host Jagger, alongside musical guest Arcade Fire, performed it alongside “Ruby Tuesday” as the comedian dances and says goodbye to her co-stars. If there is something that will make you cry from the hit sketch show, it’s this. Now, if we’re talking about how a song can influence an entire movement, Gilbert Baker, the creator of the rainbow pride flag, told the New York Blade in 2008 that it was not Judy Garland‘s “Over the Rainbow” but in fact the Stones’ “She’s A Rainbow.”
8
“Tumbling Dice” (1972)
Introduced as the lead single from the 1972 double album Exile on Main St., “Tumbling Dice” brought back the blues with the boogie-woogie for a song about an unfaithful gambler. Written and recorded during the period when the band became UK tax exiles, the song had some filler lyrics and an initially different intention. Though that song, “Good Time Women,” went unreleased until 2010. The song tells the story of a gambler who simply cannot remain faithful to any woman. A dark lyrical premise, the result ultimately led to the peppy, laid-back groove we know today. The tempo lives in a grey area that’s essentially halfway between slow and straightforward rock speed. Then, turning to the lyrical composition, it’s quite an irregular structure, with line counts changing throughout the verses and choruses. But what makes the song so beloved is the call-and-response in the coda, making it perfect for live performance.
An ambitious song, “Tumbling Dice” can be described as sassy with a casual swagger. Dare I say, it’s got “Swagger Jagger.” It’s credited to Jagger’s vocal charisma. Written after the swinging ’60s and the Summer of Love, the song still has a lyrical essence that explores themes of sex and love. About a half-decade later, Linda Ronstadt recorded her own version of the song, bringing a different vitality to it. And not just because the lyrics were adjusted to suit the singer’s mission. Though it had a troubled road to ultimate creation, “Tumbling Dice” remains one of the band’s most iconic entries.
7
“Beast of Burden” (1978)
Oftentimes, when you see the title of a song, you can automatically hear something from it in your head. When it comes to “Beast of Burden,” almost certainly, you hear Jagger’s soulful vocals singing the title. A vulnerable and raw rock anthem, “Beast of Burden” showcased an evolving maturity from the band. It also helped to establish and further the sound of rock and roll in the late ’70s. The second single off of 1978’s Some Girls, following “Miss You,” the song wasn’t meant to be a personal track; it was all about the attitude and hidden meaning. Taking inspiration from domesticated animals used for human labor, Richards has noted that the song was written as a thank-you to Jagger for “shouldering the burden.”
“Beast of Burden” features a masterful weave of soulful, understated guitar from Richards and Ronnie Wood, a steady groove from Charlie Watts and Bill Wyman, and Jagger’s intimate and controlled vocals, some of which were improvised. The Rolling Stones experienced internal turmoil in the ’70s, but “Beast of Burden” represented a moment of the band’s unity. One that marked a newfound comeback for the band.
6
“Wild Horses” (1971)
There are certainly a handful of Rolling Stones ballads that strike at the heart, but none do so quite like “Wild Horses.” The follow-up single to “Brown Sugar” from the ninth studio album, Sticky Fingers, “Wild Horses” exposed a softer side to the band. A beautifully emotional track that highlights raw vulnerability, “Wild Horses” is a song about longing and endurance. The origin of the song came about after Marianne Faithfull, Jagger’s former partner, woke from an overdose. She said to him, “Wild horses wouldn’t drag me away.” Though the song may not have necessarily been written about her, it was inspired by her. Soon thereafter, it evolved into a song about being a million miles from where you wish to be.
Musically, Richards used the melody as a lullaby for his newborn son. Richards experimented with the twelve-string guitar. Taylor played with a Nashville-strung acoustic guitar. Wyman stayed on the bass guitar. With Jim Dickinson playing tack piano and Watts on drums, the musical roadmap was set, turning “Wild Horses” into an acoustic masterpiece. It was stylistically different from many of the classic Stones’ previous tracks, which helped it earn instant recognition. The change of pace allowed the band to take a newfound direction. They no longer had to stick to pulse-pounding rock and roll. Because of its timelessness, “Wild Horses” is often cited as a fan favorite. A delicate and intimate song that continues to resonate emotionally, “Wild Horses” is just as powerful five decades later.
5
“Sympathy for the Devil” (1968)
“Please allow me to introduce myself. I’m a man of wealth and taste. I’ve been around for a long, long year, stole many a man’s soul and faith.” Pair that with the infectious conga groove at the top of the track, and you get something hypnotizing. “Sympathy for the Devil” was a musical departure for the band, and yet it defined their ability to explore musical experimentation. Taking on a first-person perspective through the eyes of the Devil, the narrative was quite sinister. And yet, that samba-like rhythm transports you, asking you to pay attention to the specificity in the lyrics, focusing on atrocities in human history. The album version, clocking in at over six minutes, pushed the Stones into a new musical era.
“Sympathy for the Devil” caused quite a stir when it was released. Whether it be the accusations of Satanism or that humanity is responsible for evil in the world, including the assassinations of the Kennedys, it doesn’t take away from the sheer brilliance of the composition. Structurally masterful, with nods to African and South American sounds and a gripping “woo-woo” vocal chant, there was no song in the catalog quite like “Sympathy for the Devil.” Very few classic rock songs have a musical break as visceral as that of “Sympathy for the Devil.” That searing guitar solo by Richards may be his best. Fortunately, much of the creation process was captured for Jean-Luc Godard‘s avant-garde film of the same name.
Music that is reactionary to the time often leads to remarkable works of art. In the late ’60s, many singers, songwriters, and musicians found themselves using their talents to help art reflect society. One such example, as a means to comment on the intense social upheaval of 1968 and the broader chaos, was the brilliant “Sympathy for the Devil.” It was referenced in Hunter S. Thompson‘s book and film Fear and Loathing in Las Vegas. Decades later, Guns N’ Roses explored their own take of the track, being featured in the film adaptation of Interview with the Vampire. Needless to say, “Sympathy for the Devil” stands as the band’s most profound artistic achievement.
4
“Paint It, Black” (1966)
When you think of rock music in the ’60s and ’70s, you tend to think of the typical instruments. But can you achieve rock-and-roll success by playing a sitar? It’s a resounding yes. With a groundbreaking fusion of Eastern-influenced sitar with Hammond organ, castanets, and tom-toms, “Paint It, Black” became a chart-topping smash, serving as a reminder that unconventional instrumentation can be a recipe for success. The British Invasion set a standard in sound for the bands that crossed the pond. But as the big acts began to become more musically sophisticated, big risks led to big rewards. An influential song for the burgeoning psychedelic genre, “The Rolling Stones” joined The Beatles in pushing commercial appeal toward artistry outside the mainstream.
From the jump, the track’s introduction became instantly recognizable. From there, the eerie, exotic use of Jones’ sitar made a perfect addition to the song about grief. “Paint It, Black”is, on its surface, a depressing premise about the desire to turn the whole world black to match internal sorrow. And yet, the experimental nature, with its tight structure, added a cinematic element to the song. By straying from the standard pop-rock vibes synonymous with the band, “Paint It, Black” opened the door for new paths to explore. On one of the rare occasions when each member of the band added something to the track, it gave the track a sense of further completion. The song’s vibrancy has inspired countless artists to cover it and many films to include it on their soundtracks. Maybe an unofficial pioneer in emo punk rock, The Rolling Stones found the light by tackling the darkness.
3
“(I Can’t Get No) Satisfaction” (1965)
There is no hook in rock history that matches that of “(I Can’t Get No) Satisfaction.” A song about sexual frustration and commercialism, “(I Can’t Get No) Satisfaction” became one of the band’s most popular songs. The song came to Richards in his sleep, as in he really wrote it, recorded a rough cut, and awoke unaware that he did. With the iconic guitar riff kicking off the track, what followed was a cascade of sound before Jagger came in with the titular line. The song featured a hard-driving blues beat that paired well with the rock sounds already familiar to listeners. It had a catchy hook with a catchy title and captured the spirit of the time. Though the song had difficulty being played on the radio because of its allegedly suggestive lyrics, it didn’t matter, as those lyrics resonated instantly. It thrust the band to superstardom.
“(I Can’t Get No) Satisfaction” became a staple for the Stones, especially during live performances. It made sense as the song hit number one in many countries on multiple charts. In a sense, “(I Can’t Get No) Satisfaction” is a generational song. Otis Redding recorded a version of it that went full-tilt jazzy blues. In the late ’70s, new wave band Devo provided their own rendition. Then, at the start of the new millennium, it was Britney Spears. This may be a stretch, but there may be an entire generation that found The Rolling Stones and classic rock through Spears’ cover of the song. The fact that the princess of pop could reconstruct rock royalty’s song in such a brilliant manner is a testament to the strength of the track.
2
“You Can’t Always Get What You Want” (1969)
Sometimes simplicity is all it takes. Truly, what a profound statement the lyrics made. “You can’t always get what you want. But if you try sometimes, well, you might find you get what you need.” The chorus became a mantra that continues to resonate today. Straight from Let It Bleed, “You Can’t Always Get What You Want” proved to be one of the most defining songs the band ever recorded. Unlike almost any other Stones song, “You Can’t Always Get What You Want” didn’t start with a guitar riff or Jagger’s signature vocals. Instead, it was the London Bach Choir and the soaring horns opening the track on the album. Not there to cover anything up, rather they were present to add something new.
A song about the major topics of the 1960s— love, politics, and drugs—the lyrics take the audience on a journey from initial optimism to eventual disillusionment. Though the chorus may be resigned cynicism, there was hope within. Originally, the B-side for “Honky Tonk Women,” there was no second fiddle about it. “You Can’t Always Get What You Want” remains one of the most popular songs. Said to be a counterpart to “Hey Jude,” the song shared the Stones’ maturity through their philosophical words. The song is timeless, having been covered nonstop and used in a wide range of media. If there was ever a song that marked the end of the Swinging Sixties, it was this song.
1
“Gimme Shelter” (1969)
A sense of urgency and a dire warning in music don’t always need to come from a deeply poetic dissertation in lyrics. Sometimes all it takes is repetition to make a message poignant. With an ominous, moody tone, “Gimme Shelter” expertly conveys intent. Starting from a whisper and crescendoing to a frantic cacophony of controlled vocals, “Gimme Shelter” evoked a sense of panic. The lyrics, which reiterated the main words throughout, became a reflection of war, violence, and fear while marking the closure of ’60s idealism. Encapsulating the doomed decade, the song is a complete masterpiece. What may be a shocker: the song, which was never released as an official single, found prominence when it was included on many of the band’s compilation albums.
At its core, “Gimme Shelter” is an apocalyptic song. With the lyrics evoking that tone, “Gimme Shelter” relied on the vocals. Jagger isn’t the only prominent vocalist on the track. Singer Merry Clayton‘s guest vocals helped launch the song to the stratosphere. Her vocals reached immense emotional peaks, amplifying the desperation of the song’s message. Jagger spoke to NPR and called the song “a very moody piece about the world closing in on you a bit. And yet, that same feeling can be evoked today. There’s no song that defines the band while transcending music more than “Gimme Music.” It’s an anthem for the world.
The Rolling Stones: Rock Royalty
- Release Date
-
April 17, 2018
- Runtime
-
60 minutes
- Director
-
Matt Salmon
Brandi Glanville is far from impressed after country music singer LeAnn Rimes shared an emotional video highlighting her recent jaw release treatment.
“We did see LeAnn Rimes in the news today,” Glanville, 53, said on the Thursday, April 2, episode of her “Unfiltered” podcast. “I don’t understand why I saw it, and I’ve had that done a million times [because] I have TMJ.”
Temporomandibular joint disorders (TMJ) affect the joints that help the jaw move, according to the Cleveland Clinic. It often causes pain, headaches or difficulty chewing.
Rimes, 43, underwent a “deep jaw release” late last month.
Brandi Glanville found an ally in LeAnn Rimes as the stress over her face parasite continues. “Happy Christmas,” Glanville, 52, captioned an Instagram post, which included a family photo with her kids Mason 21, and Jake, 17, Rimes, ex-husband Eddie Cibrian and more extended family on Thursday, December 26. “Not my favorite look for my […]
“Healing isn’t always quiet. Sometimes it’s a physical letting go of things we didn’t even know we were carrying,” Human Garage captioned footage from Rimes’ treatment session. “You can see the exact moment the tension breaks and the emotional weight lifts, leaving her feeling visibly lighter and more aligned.”
The caption continued, “The jaw is one of the body’s primary storage sites for stress. When we hold back our voice or push through pressure, the fascia in the face and neck ‘locks’ to protect us. By using the maneuvers to signal safety to the nervous system, we can finally allow that stored energy to move.”
Glanville, who was previously married to Rimes’ husband Eddie Cibrian from 2001 to 2009, reiterated on Thursday that she underwent the same treatment multiple times.
“They put on gloves and they go inside your mouth, and it’s very painful,” Glanville explained of the procedure. “I think I just have a very high pain tolerance.”
Glanville’s podcast cohost, James Maas, chimed in to note that Rimes seemed “happy” at the end of the treatment.
LeAnn Rimes documented a wellness treatment that has helped clear her body of “micro-toxins” after past health struggles. “Listening to my body and choosing what feels supportive for this season of healing, especially after a very busy year of filming and touring,” Rimes, 43, wrote in a recent Instagram post after undergoing a “plasma exchange” […]
“I just don’t know why you share that,” the Real Housewives of Beverly Hills alum quipped of the singer’s vulnerable post. “Well, I hope she feels better, and yeah, that was that on that.”
Maas, meanwhile, pointed out that Rimes likely shared the video to be candid about her health journey.
“Oh, like me? So weird,” Glanville quipped.
Glanville has been battling multiple health issues for several years, including an alleged parasite infection and a breast implant rupture that she claims caused a serious facial disfigurement.
Brandi Glanville’s two sons have rallied around her amid her mysterious health scare. “They’re so fed up [and] they’re like, ‘You’re going to another doctor.’ They’re like, ‘This is ridiculous. I can’t believe no one’s figured this out yet,’” Glanville, 52, recently told Us Weekly exclusively while promoting her “Remedy” single. “They’re like, ‘It’s two […]
“It’s been a slow process, but I’m finally getting back to my normal routine and feeling like myself again,” Glanville exclusively told Us Weekly in November 2025, noting that moving houses also gave her a fresh start. “The new space has really helped me reset and focus on creating a calmer, more positive environment for myself. I’m enjoying keeping things simple, spending more time at home, and really taking care of myself.”
It took Glanville more than two years and thousands of dollars to find a diagnosis and cure. She even sought help from Rimes.
“[LeAnn] said, ‘You need a breath coach,” Glanville previously told Us in April 2024. “She told me a long time ago, but it just kind of resonated with me.”
Using Rimes’ tip, Glanville said that she bought “a book on breathing” and hired a wellness coach to help her endeavors.
“I can actually talk myself out of a panic attack,” she said at the time. “I’m still doing cosmetic stuff, but at the same time trying to fix myself. I eat better and breathe and actually exercise. I’m getting there. I just started with this journey, but I can actually do things.”
Editor’s note: The below interview contains spoilers for the Dark Winds Season 4 finale.
This season of Dark Winds has been quite the roller-coaster. As Joe Leaphorn (Zahn McClarnon), Jim Chee (Kiowa Gordon), and Bernadette Manuelito (Jessica Matten) have quite literally left the reservation to bring back a missing girl who has scurried off to 1970s Los Angeles, they find themselves in the crosshairs of a dangerous conspiracy — one with Titus Welliver‘s Dominic McNair at the very center. Collider had the immense pleasure of speaking with the Bosch star himself about his role in Season 4, his love for the original Tony Hillerman novels, his hopes for the show’s future (and his potential involvement in it), and more.
COLLIDER: First off, I heard you’re a big fan of the original Tony Hillerman novels; is that true?
TITUS WELLIVER: That is true. That is true. I read them… you know, it’s very funny. My youngest brother — half-brother, although I say half-brother only because of our age difference — he’s 19 years younger than I am. But he started reading the Hillerman books when he was, I wanna say, nine years old.
Oh, wow.
WELLIVER: Yeah, he was at a used bookstore with our dad, and he was attracted to the cover art on the paperback. He started reading the books, and he would be talking about them all the time. So, I was like, “You know what? Let me check…” It’s not like I wasn’t aware of them. So, I started reading them, and I got into them. When I heard a few years ago that they were doing the show, I was like — as I’m sure the experience was for people who had read the Bosch books — who were they going to cast as Leaphorn? Then it was announced that it was Zahn [McClarnon], and I was like, “Yes! So excited.” He so embodies that character. Because I have that experience, Zahn and I kind of talked about it briefly, but it’s the daunting prospect. He brought breath of life into Joe in the most perfect way. Everybody does on that show. To then be asked to be a part of it was really, really exciting.
Titus Welliver Was a ‘Dark Winds’ Fan Long Before He Joined AMC’s Smash-Hit Crime Thriller
“To then be asked to be a part of it was really, really exciting.”
I’m assuming then that you’ve read The Ghostway? Obviously, there are some differences between Dominic McNair, your character, and the George McNair character in the novel. Did you revisit the book when crafting your take on the character, or did you always kind of see them as two different people?
WELLIVER: Yeah, I did. I think sometimes, with certain things as an actor… obviously, if you’re going to be Harry Bosch or Leaphorn, it ain’t broke [so] there’s no need to fix it. You don’t want to mess around with it. But it had been a while since I had read [The Ghostway], and when I was speaking to [showrunner] John Wirth, it all kind of came back to a certain degree. But he’s incarcerated, so all of his action is put into motion and enacted from jail, which is interesting and challenging, right? Because he kind of flips the switch and sh*t starts to go sideways. So, in that way, it was cool to have that character really contained but still be formidable and be this sort of malevolent character.
Will their relationship survive the fallout of Joe’s decision?
You’re almost a dark specter behind everything that’s going on this season.
WELLIVER: Yeah. And also, visually, they really did interesting things. Todd A. Dos Reis, he was one of the cinematographers on the show, and he shot the first season of the spin-off Bosch: Legacy. So, he and I already had a shorthand [as] actor and cinematographer. The whole show is shot beautifully. I always say: “A cinematographer creates a beautiful painting, or they create an image, and then you, as an actor, go in there and dwell within that image.” You’re telling the story, but the story is also going on all around you with the visual aspects of it. And I thought that was really… well, look, I was just looking at the monitors.
As I think I said to you, I save it up, I squirreled it, because once I start Dark Winds, I’m gonna blaze it. I have not yet watched it. But, you know, you go to the monitors, and you look at the stand-ins, and you’re like, “Ooh, okay, now I understand where I’m playing, and what I can and can’t do, and what’s gonna really work.” So, it was really exciting.
McNair and Vaggan Have a Complicated Past, According to ‘Dark Winds’ Titus Welliver
What can you tell me about McNair’s relationship with Irene Vaggan? These two clearly have some sort of rapport. What does he see in her that others don’t, and do you think that he’s somewhat scared of her himself?
WELLIVER: I don’t think that he’s scared of her. John sort of alluded to the fact that there’s probably been some kind of a sexual relationship, possibly, in the past, although he said, “Don’t let that inform what you want to do.” John was really generous in that way. He was like, “I just wanna unleash you.” But we did have a conversation. McNair, he’s a puppet master. He knows Vaggan’s capabilities, and so I think in that regard, you have a guy who’s using this instrument of destruction. I would say it’s like somebody who uses a dog as a weapon, like a pitbull or a vicious animal that you have to dominate and control, or else it turns on you. That was sort of the analogy I played in my head. “Yes, of course, that snake can bite you, but you know how and when to grab that snake by the neck so it can’t injure you.” So, there’s that. But he’s more than aware of her capabilities.
We had worked together, Franka and I, on Titans, so we knew each other. Because we knew each other, there was a comfort. As actors, we were already friends. So, we got in there and really played with it, and despite you never [seeing] that happen, it creates some dynamic in the relationship so that the audience had a sense of that.
Titus Welliver Hopes to Return for ‘Dark Winds’ Season 5, but Nothing’s Official Yet
At the end of Season 4, McNair is still behind bars, but he’s certainly not down for the count. Can we expect him to come after Joe and his allies in the upcoming fifth season?
WELLIVER: I don’t know… I’m not sure. I would certainly do it in a heartbeat. With the renewal, and they were renewed early, which is always a great thing. I don’t know if there’s necessarily room in Season 5, but you never know. That being said, if I get a call from John in the eleventh hour, and he goes, “Hey, we just decided to throw this scene in. Get on a plane tomorrow.” I’d be there in a heartbeat. It’s just a marvelous group of people to work with.
Here’s hoping. I think there’s still a lot of potential for your character.
WELLIVER: I think he’s been… He’s had a few teeth pulled by Leaphorn, but I don’t think that he’s been sidelined to the point where he’s ineffectual as to what he can do. But it would be interesting to revisit that character for sure.
All four seasons of Dark Winds are available to stream on AMC+.
- Release Date
-
June 12, 2022
- Network
-
AMC
- Directors
-
Michael Nankin
- Writers
-
John Wirth, Steven Judd, Max Hurwitz, Rhiana Yazzie, Thomas Brady, DezBaa’
Entertainment
Christopher Nolan’s Favorite Series Is This Near-Perfect 10-Part Thriller “Unlike Anything” on TV
While Christopher Nolan is best known for delivering critically acclaimed, groundbreaking films throughout his career, he’s also got some surprising tastes when it comes to movies. He’s called the Fast and Furious films a “tremendous action franchise,” named Talladega Nights: The Ballad of Ricky Bobby as one of his favorite films of all time, and even shown appreciation for the Marvel Cinematic Universe for bringing audiences into theaters, particularly during the COVID-19 pandemic. If Nolan’s fans are surprised by his taste in movies, they’ll definitely be shocked by his favorite TV show. Nolan has showered praise upon Showtime’s black comedy The Curse, saying that it’s “unlike anything” that’s currently on TV.
What Is ‘The Curse’ About?
The Curse focuses on Asher Siegel (Nathan Fielder) and his wife, Whitney (Emma Stone), as they host an HGTV show called “Fliplanthropy” where they attempt to help renovate the local neighborhoods. They’re also trying to start a family in the process, until a girl named Nala (Hikmah Warsame) curses Asher when he pretends to give her a $100 bill for the show. Strange and horrific things begin to happen to Asher after he’s “cursed”. His marriage to Whitney starts to unravel. They learn they’re having a child, but the pregnancy is ectopic, meaning that there’s a slim chance it’ll survive. Asher is even cursed again by his friend and producer, Dougie (Benny Safdie), during an argument. Fielder, who co-created The Curse with Safdie, said he based the series on a real-life experience he had where a woman supposedly cursed him:
“I don’t believe in that stuff, but I can’t get those things out of my head. Sometimes if someone says something to you, even conversationally, where you feel like you messed up something, it can linger in your mind and grow and consume you. Then we just started riffing on that idea, like, ‘Wouldn’t it be interesting if that vibe was hanging over an entire show?’”
The Curse received universal acclaim, with critics praising its mix of black comedy and drama. It’s well deserved, as the series doesn’t just deal with a potential curse but also tackles multiple topics, including gentrification, marriage, and Asher and Whitney’s struggle to be considered “good people.” Despite “Flipantrophy’s” premise, The Curse reveals that the show is more or less gentrifying the town it works in; Whitney’s parents are also revealed to be slumlords. Asher is also revealed to have his own hangups, including some deeply rooted insecurities about his marriage and his position in life. That The Curse can balance all of these different stories shows why it made such an impact, and it probably explains why Christopher Nolan was drawn to the series.
Christopher Nolan Compared ‘The Curse’ to ‘Twin Peaks’
Christopher Nolan hosted a Q&A after a screening of The Curse‘s pilot with Nathan Fielder and Benny Safdie, where he delivered praise for the series and even made a surprising comparison to another beloved, twist-filled TV show. “It’s an incredible show, and it’s unlike anything I’ve ever seen on television before. There are so few shows that come along that have genuinely no precedence. You’re going back to things like Twin Peaks, or The Prisoner, or Dennis Potter’s Singing Detective, and things like that, so you’re in an amazing space, and I can’t wait to catch up with the climax,” Nolan said. Comparing Twin Peaks and The Curse might be surprising, but it makes sense: both series start in one genre, then take some surprisingly sharp narrative turns throughout their run. In the same vein, Fielder’s other projects, including Nathan For You and The Rehearsal, feature the kind of surreal edge that David Lynch would have been proud of.
Nolan also had praise for Emma Stone’s performance as Whitney. “I don’t think it’s a spoiler to say, as the series develops, she can be pretty maddening at times, in a very credible way. The performance, I think, is absolutely amazing and wonderful. She’s totally in it,” he said. Stone slowly unveils more layers to Whitney as The Curse progresses, showcasing that she isn’t that happy in her marriage to Asher; it all boils over in the penultimate episode “Young Hearts”, where Whitney delivers a searing monologue to Asher about how he’s held her back from her dreams. It’s a very uncomfortable, intense sequence that’s magnified by Stone’s performance, as she layers levels of escalating scorn throughout the monologue. It wouldn’t be the first time that a 2023 project starring Stone had an intense performance from her, as she shocked audiences with her turn in Poor Things.
‘The Curse’ Has an Ending That Nolan Would Be Proud Of
The biggest plot twist in The Curse involves its finale, “Green Queen.” Though Asher and Whitney’s marriage seems to have improved, and Whitney’s ready to give birth to their baby, things take a turn for the weird for Asher. It’s a completely unexpected moment, but it’s proof that the curse never left Asher — and it’s made darkly more hilarious when the fire crews get involved. It’s the kind of plot twist that Nolan loves putting in his films, which might explain part of why he was drawn to The Curse. Nolan has also drawn Benny Safdie into his cast of recent collaborators, as Safdie had a role in Oppenheimer as physicist Edward Teller; Safdie will also appear in Nolan’s Greek epic The Odyssey.
Stephen King’s All-Time Favorite Series Is This 16-Episode Sci-Fi Thriller Masterpiece
To the surprise of no one, King has incredible taste in TV.
Despite its critical acclaim, The Curse has yet to be renewed for a second season. Both Fielder and Safdie have mentioned that they have ideas for a second season, with Fielder telling The Hollywood Reporter, “There definitely could be. From the start, we had it mapped out beyond the first season.” If The Curse returns, hopefully it keeps the same mix of black comedy and drama that looped in Christopher Nolan… or, at the very least, get him to direct an episode or two.
The Curse is available to stream on Paramount+.
- Release Date
-
2023 – 2024-00-00
- Network
-
Showtime
- Directors
-
Nathan Fielder
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We’ve got some good news — and some bad news — for fans of Leaphorn, Chee, and Manuelito.
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